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Shortening Schaller Shafts

Shortening Schaller Shafts

by David Golber

Originally published in American Lutherie #33, 1993 and Big Red Book of American Lutherie Volume Three, 2004



I’ve been making a Yugoslav folk instrument called prim. It’s something like a small mandolin; the scale is 15 1/4". For tuning machines, I’ve been using Schaller M6 minis, but I’ve been modifying them to solve some problems: the peghead is only 3/8" thick, and the threaded bushings that come with the Schallers don’t tighten down this far; the instrument tends to be too heavy at the head; and I have trouble getting enough string angle over the nut.

The photos show what I’ve done to the Schallers. The threaded bushings have been shortened; the metal knobs have been replaced by the proverbial Handsome Pearlescent Plastic; and the shafts have been cut down short and reshaped.

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A Case of Explosion Damage

A Case of Explosion Damage

by Keith Davis

Originally published in American Lutherie #15, 1988



In the course of operating a violin shop we have seen all sorts of typical and not-so-typical repair jobs come in, as every shop does. The average day brings a dropped soundpost, a broken bridge, some cracks and so forth. But we were recently called on to repair a series of problems in the instruments of the high school orchestra following a natural gas explosion .

On January 13, 1988 a leak in an underground line allowed gas to build up in the boys’ locker room and weight room of the West Iron County High School. When a coach flipped a light switch the resulting spark apparently set off the explosion, which injured approximately twenty students and staff. The orchestra had stored their instruments in a nearby room and the explosion and shock wave following it caused many of the instruments’ soundposts to either fall or shift position. It is our opinion that the position of the instrument at the time determined whether the post fell or was relocated. Several bridges broke, both violins and ‘celli being so affected. As a point of interest, no viola damage was reported.

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Applications of the Silicone Heating Blanket in Violin Making

Applications of the Silicone Heating Blanket in Violin Making

by George Borun

Originally published in American Lutherie #34, 1993 and Big Red Book of American Lutherie Volume Three, 2004



In American Lutherie #25, Mike Keller describes how he uses silicone heating blankets for bending guitar sides, and mentions an earlier article in Fine Woodworking. The potential of these devices for use in violin making became obvious to me, and with some experimentation and adaptation, I’ve developed specific applications for the violin maker.

Silicone heater blankets, also called flexible heaters, are available from two sources, with a number of standard sizes in stock at each company: Watlow Electric of St. Louis, Missouri (www.watlow.com) and Benchmark Thermal of Grass Valley, California (www.benchmarkthermal.com). Watlow markets through distributors. They have a large selection of stock sizes up to 35" long. Benchmark has a smaller stock size selection, but their prices are considerably lower. They will make any size you wish, but that adds to the cost and delivery time. Stock maximum length is 20", but this is more than long enough for violins. In bending bass ribs, I use two 10" wide blankets for the longer pieces, and only one for the center bout. The best units are 4W/sq.", rather than the 2W models. This type will get up to 500°F in a couple of minutes. Product catalogs are available which list the various sizes.

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Accident Prevention: A Case History

Accident Prevention: A Case History

by Jeffrey R. Elliott

Originally published in American Lutherie #14, 1988



Aa a luthier who has repaired several thousand guitars over the past 20 years, I have developed a growing obsession over guitar care and safety. Much of this is due to my realization that nearly half those repairs may not have been necessary had they been properly handled. Significantly, they were often not in their owner’s possession at the time of “the accident”.

In such a case a few years ago, the culprits appeared to have been the baggage handlers of several airlines during a rigorous two month international tour. The owner took all the proper precautions before and after each flight, and the guitar was in an expensive custom case made especially to accommodate its shape and dimensions. So I was upset, but not surprised, when I learned of the first incident, as airline handling of instruments remains notoriously poor. However, upon learning of three more identical mishaps, I became increasingly concerned for the instrument.

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The Bluegrass Dobro

The Bluegrass Dobro

America’s Second Native Instrument

by Bobby Wolfe

Originally published in American Lutherie #5, 1986 and Big Red Book of American Lutherie, Volume One, 2000



There is a little ditty known as “The Duck Principle.” It says: If it looks like a duck, if it walks like a duck, if it quacks like a duck, then it must be a duck. Well, since the Dobro only looks like a guitar, and even in this respect with significant differences, and doesn’t qualify in the other ways, I say it’s not a duck.

Seriously, in my opinion, the mechanically amplified instrument known as the Dobro does qualify as America’s second native instrument.

This article is designed to acquaint you with the Dobro and to provide information on common repair and setup needs of the instrument. Today, in addition to the members of The Original Family building the original instrument, there are many individuals building their versions. Most of these people have their own ideas and opinions about what works best. Therefore, I am not presenting my ideas, experiences, and working practices as the “last word.”

First, let’s define Dobro. It is a registered brand name that is now also used generically to describe most resonator-type guitars. The name comes from the Dopera (Dopyera) brothers. There are five Dopera brothers. There are five letters in Dobro. The word dobro means “good” in their native Slavic language. Take your pick!

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